The Electroacoustic Music Store

Artists Francisco López

Francisco López is internationally recognized as one of the major figures of the experimental music scene. Over the last 25 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion.

He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries of the five continents. His extensive catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 150 record labels worldwide, and he has been awarded twice with honorary mentions at the competition Prix Ars Electronica (Austria).

Pedro Higueras, Sonom Studios [ii-07]

Francisco López

Madrid (Spain), 1964

Residence: Madrid (Spain)

  • Composer

On the Web

Selected Works

Appearances

Various artists
Victo / VICTO 113 / 2009
empreintes DIGITALes / IMED 0898 / 2008
Various artists
Pogus Productions / P 21041-2 / 2006
Various artists
Intransitive Recordings / INT 023 / 2004
Various artists
Sub Rosa / SR 220 / 2004
  • Temporarily out of stock
Various artists
Oral / ORAL 04 / 2003
Various artists
CEC-PeP / CEC 95CD / 1995

Complements

Various artists
Störung / STR 008 / 2010
  • Not in catalogue
Various artists
Audiobulb Records / AB 023 / 2009
  • Not in catalogue
Blossoming Noise / BN 039BOX / 2008
  • Not in catalogue
Alien8 Recordings / ALIEN 54 / 2005
  • Not in catalogue
Ashgate Publications / ASH 0754604268 / 2004
  • Not in catalogue
Alien8 Recordings / ALIEN 35 / 2003
  • Not in catalogue
Alien8 Recordings / ALIEN 31 / 2002
  • Not in catalogue
Alien8 Recordings / ALIEN 20 / 2000
  • Not in catalogue

In the Press

Festival international de musique actuelle de Victoriaville: Day 3

John Kelman, All About Jazz, May 21, 2007

With a festival as inherently risk-taking as the Festival international de musique actuelle de Victoriaville (FIMAV), it’s a given that some shows will work better than others. There may also be failed experiments, but it’s to the festival’s credit that it doesn’t rely on the tried-and-true. Invariably, even the less-successful performances are, at the very least, worth checking out.

Day three of the 24th edition of FIMAV was all about operating without a safety net — and, as usual, within a wide array of musical contexts — with some of this year's most and least successful shows yet. […]

Victoriaville matière sonore

Contrasting with Signal Quintet’s performance, Victoriaville matière was a strong idea on paper that didn’t always succeed in the implementation. The premise was good: construct a forum for a number of composers/sound artists to create individual pieces based on field recordings made around the Victoriaville area. Have the process overseen by renowned experimental blender of natural and industrial sounds, Francisco López, and link the pieces together into a single work with a broader overriding arc. In addition to López, Aimé Dontigny, Louis Dufort, Chantal Dumas, Steve Heimbecker, Mathieu Lévesque, Hélène Prévost and Thomas Phillips all contributed to the 90-minute show.

Similar to the Theresa Transistor performance on Day Two, but in the larger Colisée venue, the artists were placed in the center of the hall, surrounded on all sides by the audience and with a sound system facing in around the periphery of the hall. With the equipment setup on a riser with minimal blue lighting, there was little for the audience to watch, encouraging it, instead, to simply absorb the sounds without visuals and to find meanings on a more personal and imagination-driven level.

The eight pieces were linked by a nature recording of birds, used to allow one artist to leave the center stage so that the next could take his/her place. Other than FIMAV CEO and Artistic Director Michel Levasseur’s usual spoken introduction to the show, there was no applause between pieces, nor was there any announcement of order of events, so it was impossible to know whose pieces belonged to whom.

Intriguing sounds were many and diverse, ranging from the natural to the artificial, and there was considerable processing applied. Like Theresa, equal importance was given to where individual sounds appeared and to how they traveled around the aural landscape. The problem was that, to a large extent, the approaches used were obvious and often overly dramatic. Lacking the nuance of Signal Quintet (and, because these were solitary pieces, the interaction of the earlier performance), the overall levels were high, the sounds often overly dense and the collages often too busy for the listener to sense any sort of unified statement.

Sometimes it’s good to make the audience come to the music rather than the other way around, and a better balance of dynamics and more discernable narrative for each piece would have made the entire show more successful. Still, credit is due for an imaginative experiment that, some shortfalls notwithstanding, was well worth pursuing.

Intriguing sounds were many and diverse, ranging from the natural to the artificial, and there was considerable processing applied.

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